sonyfandomcom-20200213-history
Columbia Records
Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of Japanese conglomerate Sony. It was founded in 1887, evolving from the American Graphophone Company, the successor to the Volta Graphophone Company.1 Columbia is the oldest surviving brand name in the recorded sound business,234 and the second major company to produce records.5 From 1961 to 1990, Columbia recordings were released outside North America under the name CBS Records to avoid confusion with EMI's Columbia Graphophone Company. Columbia is one of Sony Music's four flagship record labels, alongside former longtime rival RCA Records, as well as Arista Records and Epic Records. Artists who have recorded for Columbia include Bob Dylan, Miles Davis, Johnny Cash, Simon and Garfunkel, Bruce Springsteen, Barbra Streisand, Janis Joplin, Paul Simon, Leonard Cohen, AC/DC, Alice in Chains, Adele, Louis Armstrong, Tony Bennett, Art Garfunkel, Dave Brubeck, Rosemary Clooney, Mariah Carey, Joe Zawinul, Neil Diamond, Celine Dion, Earth, Wind & Fire, Duke Ellington, Pink Floyd, Erroll Garner, Billy Joel, Beyoncé, John Mayer, George Michael, The Internet, Bill Withers, Shakira, Frank Sinatra, Ray Conniff, Bessie Smith, Adelaide Hall, Foster the People, The Clash, Paul Whiteman, 50 Cent, Andy Williams, Pharrell Williams,6 Harry Styles, BTS and Little Mix. History Beginnings (1887–1929) The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward D. Easton (1856–1915) and a group of investors. It derived its name from the District of Columbia, where it was headquartered.78 At first it had a local monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington, D.C., Maryland, and Delaware. As was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, and its catalogue of musical records in 1891 was 10 pages. Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup. Thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the "XP" record, a molded brown wax record, to use up old stock. Columbia had introduced black wax records in 1903. According to one source, they continued to mold brown waxes until 1904 with the highest number being 32601, "Heinie", which is a duet by Arthur Collins and Byron G. Harlan. The molded brown waxes may have been sold to Sears for distribution (possibly under Sears' Oxford trademark for Columbia products).9 Columbia began selling disc records (invented and patented by Victor Talking Machine Company's Emile Berliner) and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings (from 1903 onward). These stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings was not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, Edison, England's His Master's Voice (The Gramophone Company Ltd.) or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety initially selling for 65 cents apiece. The firm also introduced the internal-horn "Grafonola" to compete with the extremely popular "Victrola" sold by the rival Victor Talking Machine Company. During this era, Columbia used the "Magic Notes" logo—a pair of sixteenth notes (semiquavers) in a circle—both in the United States and overseas (where this particular logo would never substantially change). Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate exclusively on disc records and stopped manufacturing cylinder phonographs, although they continued selling Indestructible's cylinders under the Columbia name for a year or two more. Columbia was split into two companies, one to make records and one to make players. Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation.7 In late 1922, Columbia went into receivership.11 The company was bought by its English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, and recording process changed. On February 25, 1925, Columbia began recording with the electric recording process licensed from Western Electric. "Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the 78-rpm era. The first electrical recordings were made by Art Gillham, the "Whispering Pianist". In a secret agreement with Victor, electrical technology was kept secret to avoid hurting sales of acoustic records. In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. Columbia had already built a catalog of blues and jazz artists, including Bessie Smith in their 14000-D Race series. Columbia also had a successful "Hillbilly" series (15000-D). In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. During the same year, Columbia executive Frank Buckley Walker pioneered some of the first country music or "hillbilly" genre recordings with the Johnson City sessions in Tennessee, including artists such as Clarence Horton Greene and "Fiddlin'" Charlie Bowman. He followed that with a return to Tennessee the next year, as well as recording sessions in other cities of the South. In 1929 Ben Selvin became house bandleader and A. & R. director. Other favorites in the Viva-tonal era included Ruth Etting, Paul Whiteman, Fletcher Henderson, Ipana Troubadours (a Sam Lanin group), and Ted Lewis. Columbia used acoustic recording for "budget label" pop product well into 1929 on the labels Harmony, Velvet Tone (both general purpose labels), and Diva (sold exclusively at W.T. Grant stores). When Edison Records folded, Columbia was the oldest surviving record label. Columbia ownership separation (1931–1936) In 1931, the British Columbia Graphophone Company (itself originally a subsidiary of American Columbia Records, then to become independent, actually went on to purchase its former parent, American Columbia, in late 1929) merged with the Gramophone Company to form Electric & Musical Industries Ltd. (EMI). EMI was forced to sell its American Columbia operations (because of anti-trust concerns) and the Grigsby-Grunow Company, makers of the Majestic Radio were the purchaser. But Majestic soon fell on hard times. An abortive attempt in 1932 (around the same time that Victor was experimenting with its 331⁄3 "program transcriptions") was the "Longer Playing Record", a finer-grooved 10" 78 with 4:30 to 5:00 playing time per side. Columbia issued about eight of these (in the 18000-D series), as well as a short-lived series of double-grooved "Longer Playing Record"s on its Clarion Records, Harmony and Velvet Tone labels. All of these experiments (and indeed the Clarion, Harmony and Velvet Tone labels) were discontinued by mid-1932. A longer-lived marketing ploy was the Columbia "Royal Blue Record," a brilliant blue laminated product with matching label. Royal Blue issues, made from late 1932 through 1935, are particularly popular with collectors for their rarity and musical interest. The Columbia plant in Oakland, California, did Columbia's pressings for sale west of the Rockies and continued using the Royal Blue material for these until about mid-1936. With the Great Depression's tightened economic stranglehold on the country, in a day when the phonograph itself had become a luxury, nothing slowed Columbia's decline. It was still producing some of the most remarkable records of the day, especially on sessions produced by John Hammond and financed by EMI for overseas release. Grigsby-Grunow went under in 1934 and was forced to sell Columbia for a mere $70,000 to the American Record Corporation (ARC).12 This combine already included Brunswick as its premium label so Columbia was relegated to slower sellers such as the Hawaiian music of Andy Iona, the Irving Mills stable of artists and songs, and the still unknown Benny Goodman. By late 1936, pop releases were discontinued, leaving the label essentially defunct. In 1935, Herbert M. Greenspon, an 18-year-old shipping clerk, led a committee to organize the first trade union shop at the main manufacturing factory in Bridgeport, Connecticut. Elected as president of the Congress of Industrial Unions (CIO) local, Greenspon negotiated the first contract between factory workers and Columbia management. In a career with Columbia that lasted 30 years, Greenspon retired after achieving the position of executive vice president of the company. The Columbia Records factory in Bridgeport (which closed in 1964)13 was converted into an apartment building called Columbia Towers.14 As southern gospel developed, Columbia had astutely sought to record the artists associated with the emerging genre; for example, Columbia was the only company to record Charles Davis Tillman. Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered into an exclusive recording contract with the Chuck Wagon Gang, a hugely successful relationship which continued into the 1970s. A signature group of southern gospel, the Chuck Wagon Gang became Columbia's bestsellers with at least 37 million records,15 many of them through the aegis of the Mull Singing Convention of the Air sponsored on radio (and later television) by southern gospel broadcaster J. Bazzel Mull (1914–2006). Another event in this period that would prove to be of importance to Columbia was the 1937 hiring of talent scout, music writer, producer, and impresario John Hammond. Alongside his significance as a discoverer, promoter, and producer of jazz, blues, and folk artists during the swing music era, Hammond had already been of great help to Columbia in 1932–33. Through his involvement in the UK music paper Melody Maker, Hammond had arranged for the struggling US Columbia label to provide recordings for the UK Columbia label, mostly using the specially created Columbia W-265000 matrix series. Hammond recorded Fletcher Henderson, Benny Carter, Joe Venuti, Roger Wolfe Kahn and other jazz performers during a time when the economy was bad enough that many of them would not have had the opportunity to enter a studio and play real jazz (a handful of these in this special series were issued in the US). Hammond's work for Columbia was interrupted by his service during World War II, and he had less involvement with the music scene during the bebopera, but when he returned to work as a talent scout for Columbia in the 1950s, his career proved to be of incalculable historical and cultural importance - the list of superstar artists he would discover and sign to Columbia over the course of his career included Charlie Christian, Count Basie, Teddy Wilson, Pete Seeger, Bob Dylan, Leonard Cohen, Aretha Franklin, Bruce Springsteen and Stevie Ray Vaughan, and in the early 1960s Hammond would also exert an enormous cultural effect on the emerging rock music scene thanks to his championing of reissue LPs of the music of blues artists Robert Johnson and Bessie Smith. CBS takes over (1938–1947) In 1938 ARC, including the Columbia label in the US, was bought by William S. Paley of the Columbia Broadcasting System for US$750,000.16 (Columbia Records had originally co-founded CBS in 1927 along with New York talent agent Arthur Judson, but soon cashed out of the partnership leaving only the name; Paley acquired the fledgling radio network in 1928.) CBS revived the Columbia label in place of Brunswick and the Okeh label in place of Vocalion. CBS renamed the company Columbia Recording Corporation17 and retained control of all of ARC's past masters, but in a complicated move, the pre-1931 Brunswick and Vocalion masters, as well as trademarks of Brunswick and Vocalion, reverted to Warner Bros. (which had leased its whole recording operation to ARC in early 1932) and Warners sold it all to Decca Records in 1941.18The Columbia trademark from this point until the late 1950s was two overlapping circles with the Magic Notes in the left circle and a CBS microphone in the right circle. The Royal Blue labels now disappeared in favor of a deep red, which caused RCA Victor to claim infringement on its Red Seal trademark (RCA lost the case). The blue Columbia label was kept for its classical music Columbia Masterworks Recordsline until it was later changed to a green label before switching to a gray label in the late 1950s, and then to the bronze that is familiar to owners of its classical and Broadway albums. Columbia Phonograph Company of Canada did not survive the Great Depression, so CBS made a distribution deal with Sparton Records in 1939 to release Columbia records in Canada under the Columbia name During the 1940s Columbia had a contract with Frank Sinatra. Sinatra helped boost Columbia in revenue. Sinatra recorded over 200 songs with Columbia which include his most popular songs from his early years. Other popular artists on Columbia included Benny Goodman (signed from RCA Victor), Count Basie, Jimmie Lunceford (both signed from Decca), Eddy Duchin, Ray Noble (both moved to Columbia from Brunswick), Kate Smith, Mildred Bailey, and Will Bradley. In 1947, the company was renamed Columbia Records Inc.19 and founded its Mexican record company, Discos Columbia de Mexico.20 1948 saw the first classical LP Nathan Milstein's recording of the Mendelssohn Violin Concerto. Columbia's 33 rpm format quickly spelled the death of the classical 78 rpm record and for the first time in nearly fifty years, gave Columbia a commanding lead over RCA Victor Red Seal.2122 The LP record (1948–1959) Columbia's president Edward Wallerstein was instrumental in steering Paley towards the ARC purchase. He set his talents to his goal of hearing an entire movement of a symphony on one side of an album. Ward Botsford writing for the Twenty-Fifth Anniversary Issue of High Fidelity Magazine relates, "He was no inventor—he was simply a man who seized an idea whose time was ripe and begged, ordered, and cajoled a thousand men into bringing into being the now accepted medium of the record business." Despite Wallerstein's stormy tenure, in June 1948, Columbia introduced the Long Playing "microgroove" LP record format (sometimes written "Lp" in early advertisements), which rotated at 33⅓ revolutions per minute, to be the standard for the gramophone record for half a century. CBS research director Dr. Peter Goldmark played a managerial role in the collaborative effort, but Wallerstein credits engineer William Savory with the technical prowess that brought the long-playing disc to the public.23 By the early 1940s, Columbia had been experimenting with higher fidelity recordings, as well as longer masters, which paved the way for the successful release of the LPs in 1948. One such record that helped set a new standard for music listeners was the 10" LP reissue of The Voice of Frank Sinatra, originally released on March 4, 1946 as an album of four 78 rpm records, which was the first pop album issued in the new LP format. Sinatra was arguably Columbia's hottest commodity and his artistic vision combined with the direction Columbia were taking the medium of music, both popular and classic, were well suited. The Voice of Frank Sinatra''was also considered to be the first genuine ''concept album. Since the term "LP" has come to refer to the 12 inch 33 1⁄3 rpm vinyl disk, the first LP is the Mendelssohn Violin Concerto in E minor played by Nathan Milstein with Bruno Walter conducting the New York Philharmonic (then called the Philharmonic-Symphony Orchestra of New York), Columbia ML 4001, found in the Columbia Record Catalog for 1949, published in July 1948. The other "LP's" listed in the catalog were in the 10 inch format starting with ML 2001 for the light classics, CL 6001 for popular songs and JL 8001 for children's records.23 The Library of Congress (Washington DC) now holds the Columbia Records Paperwork Archive which shows the Label order for ML 4001 being written on March 1, 1948. One can infer that Columbia was pressing the first LPs for distribution to their dealers for at least 3 months prior to the introduction of the LP in June 1948.24 The catalog numbering system has had minor changes ever since. Columbia's LPs were particularly well-suited to classical music's longer pieces, so some of the early albums featured such artists as Eugene Ormandy and the Philadelphia Orchestra, Bruno Walter and the New York Philharmonic Orchestra, and Sir Thomas Beecham and the Royal Philharmonic Orchestra. The success of these recordings eventually persuaded Capitol Records to begin releasing LPs in 1949. Even before the LP record was officially demonstrated, Columbia offered to share the new speed with rival RCA Victor, who initially rejected it and soon introduced their new comptetitive 45 RPM record. When it became clear that the LP was the preferred format for classical recordings, RCA Victor announced that the company would begin releasing its own LPs in January, 1950. This was quickly followed by the other major American labels. Decca Records in the U.K. was the first to release LPs in Europe, beginning in 1949. EMI would not fully adopt the LP format until 1955. An "original cast recording" of Rodgers & Hammerstein's South Pacific with Ezio Pinza and Mary Martin was recorded in 1949. Both conventional metal masters and tape were used in the sessions in New York City. For some reason, the taped version was not used until Sony released it as part of a set of CDs devoted to Columbia's Broadway albums.25 Over the years, Columbia joined Decca and RCA Victor in specializing in albums devoted to Broadway musicals with members of the original casts. In the 1950s, Columbia also began releasing LPs drawn from the soundtracks of popular films. Many album covers put together by Columbia and the other major labels were put together using one piece of cardboard (folded in half) and two paper "slicks," one for the front and one for the back. The front slick bent around the top, bottom, and left sides (the right side is open for the record to be inserted into the cover) and glued the two halves of cardboard together at the top and bottom. The back slick is pasted over the edges of the pasted-on front slick to make it appear that the album cover is one continuous piece. Columbia discovered that printing two front cover slicks, one for mono and one for stereo, was inefficient and therefore needlessly costly. Starting in the summer of 1959 with some of the albums released in August, they went to the "paste-over" front slick, which had the stereo information printed on the top and the mono information printed on the bottom. For stereo issues, they moved the front slick down so the stereo information was showing at the top, and the mono information was bent around the bottom to the back and "pasted over" by the back slick. Conversely, for a mono album, they moved the slick up so the mono information showed at the bottom, and the stereo information was pasted over. The 1950s In 1951, Columbia US began issuing records in the 45 rpm format RCA Victor had introduced two years earlier.26 The same year, Ted Wallerstein retired as Columbia Records chairman;27 and Columbia US also severed its decades-long distribution arrangement with EMI and signed a distribution deal with Philips Records to market Columbia recordings outside North America.28 EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy with EMI's reluctance to introduce long playing records.29 Columbia became the most successful non-rock record company in the 1950s after it lured producer and bandleader Mitch Miller away from the Mercury label in 1950. Despite its many successes, Columbia remained largely uninvolved in the teenage rock'n'roll market until the mid-1960s, despite a handful of crossover hits, largely because of Miller's famous (and frequently expressed) loathing of rock'n'roll. (Miller was a classically trained oboist who had been a friend of Columbia executive Goddard Lieberson since their days at the Eastman School of Music in the 1930s.)30 Miller quickly signed up Mercury's biggest artist at the time, Frankie Laine, and discovered several of the decade's biggest recording stars including Tony Bennett, Mahalia Jackson, Jimmy Boyd, Guy Mitchell (whose stage surname was taken from Miller's first name), Johnnie Ray, The Four Lads, Rosemary Clooney, Ray Conniff, Jerry Vale and Johnny Mathis. He also oversaw many of the early singles by the label's top female recording star of the decade, Doris Day. In 1953, Columbia formed a new subsidiary label Epic Records.31 1954 saw Columbia end its distribution arrangement with Sparton Records and form Columbia Records of Canada.32 Despite the appearance of favoring a country music genre, Columbia bid $15,000 for Elvis Presley's contract from Sun Records in 1955.33 Miller made no secret of the fact that he was not a fan of rock music and was saved from having to deal with it when Presley's manager, Colonel Tom Parker, turned down their offer and signed Presley with RCA Victor.33 However, Columbia did sign two Sun artists in 1958: Johnny Cash and Carl Perkins.33